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Content Warning: This section of the guide includes discussion of mental illness, child abuse, child death, death by suicide, animal death, and graphic violence.
Deadly Animals depicts characters who teeter from fascination into obsession to the detriment of themselves or those around them. The text draws parallels between the protagonist, Ava, and the antagonist, Nathaniel, to explore where this boundary lies. Although Ava’s experiments at her roadkill body farm are unusual for a girl her age, the text presents this activity as a harmless fascination undertaken in a spirit of scientific inquiry. Ava doesn’t mutilate or damage the cadavers, she simply observes them in different environmental conditions, draws detailed illustrations of the stages of decay, and then buries her subjects “so they could rest in peace” (5). Conversely, Nathaniel’s experiments intentionally cause harm. In one instance, Nathaniel broke a cat’s legs and threw it off an apartment roof to observe how it would react without its righting reflex. Nathaniel’s early efforts to create a wolf suit also display his carelessness with life, as the Wolf “had stolen its fur coat from the very dogs he professed to love” (332). Obsessed with mastering death, Nathaniel leaves a path of wreckage in his wake, for both the humans and animals of Rubery.
Ava crosses into the realm of obsession while she secretly investigates the murders. Finding Mickey’s corpse thrusts Ava into the center of the case, and her strong curiosity compels her to continue finding clues. For example, when Ava leads the police to Banlock Farm, she conceals her belief that the farm is likely the kill site because “they would insist that she stayed at home” (74), and she wants to see the site for herself. Similarly, when Ava discovers Bryan’s body, she goes down to the crime scene to look around before reporting the body because she knows after the police arrive, she won’t have access to the scene and its evidence. After setting up the War Room with John, Ava’s obsessive feelings grow stronger, and she starts to feel personally responsible for finding the killer. Her interventions in the investigation escalate to the point of deliberately putting herself in dangerous situations and possibly interfering with the official police investigation. Ava re-visits the killer’s den at Banlock Farm, secretly interviews Neville Coleman—one of the police’s suspects—and even decides to confront Nathaniel at his Sky Den on her own. Ava’s obsession with finding the truth leads her down a perilous path, endangering not only herself but the success of the case.
Though Ava’s obsession with the case approaches the tipping point at which it might become counterproductive, her intense desire to solve the case is presented as a virtue. Unlike Nathaniel’s self-centered obsessions, Ava’s obsessions are rooted in a desire to help others. Her dedication is something she has in common with Detective Delahaye, who is first introduced on his day off, becoming restless and wishing to get back to work. Without Ava’s willingness to take risks in pursuit of the killer, the case would have taken much longer to solve, and more children would likely have died. The Christmas gift the investigative team gives to Ava at the end of the novel—x-rays of Nathaniel’s skeleton, copies of his drawings and journals, and a box of blue pencils sharpened on both sides, like the one she used to defend herself against him in their final confrontation—signals their approval of her actions and her fascination with crime. The gift expresses Delahaye’s belief that, by following her fascination, Ava will make the world a safer and more just place.
The text’s two main characters are both children who have been forced to hide the parts of themselves that feel most natural in order to conform to societal expectations. Ava’s shyness and lack of confidence are a direct result of being chastised and mocked for her unconventional interests and astute intellectualism. Ava’s thirst for knowledge gives her “instincts and intuitions that most grown-ups lacked” (64), making her stand out as strangely mature for a child. Ava’s mother Colleen openly trivializes Ava’s knowledge in front of the police, and her mother’s boyfriend, Trevor, mocks Ava for reading “too much.” Ava doesn’t know why she gets picked on at school, but John suspects it is because her difference intimidates the other kids, like Brett Arbello, whose attack symbolizes the random violence with which conformity is enforced. Due to these responses to her unconventional interests, Ava hides this part of herself from everyone except John, and eventually Delahaye. Although Ava is initially reluctant to expose her true self to Delahaye because she wants him to “think well of [her]” (284), she comes to understand that Delahaye, like John, doesn’t see her as weird, but as exceptional.
Nathaniel similarly holds his peers at a distance and doesn’t let anyone know his true self, even before his accident and transformation into the Wolf, because he has been taught that his canine behavioral inclinations are wrong. Nathaniel, raised in the first years of his life by dogs, finds the company and behavior of dogs most natural—so much so that his skeleton has adapted to his frequent four-legged walking. For most of his life, Nathaniel had to hide this part of himself to avoid drawing negative attention. When he becomes the Wolf, Nathaniel uses his skill at performing conformity to cover up his crimes and the true extent of his mental and physical transformation. John thinks such a savage killer would be immediately recognizable, but Ava—also adept at performing conformity—knows that the killer can easily blend in because of his capacity for compartmentalization.
This skill of emotional compartmentalization is something the killer has in common with Ava. Forced to adapt to her mother’s violent moods, Ava learned at a young age to “separate parts of her life and feelings as if none bore any relation to the others” (66). This skill continues to serve her outside the household, as she keeps her fascinations separate from the conventional persona she presents at school. For both Ava and Nathaniel, the pressures of the home—under the tyranny of abusive parents—serve as a microcosm of the conformist pressures found in the outside world. Nathaniel’s father, Nicholas, knows about his son’s past at Banlock Farm and his recent psychological change, but instead of getting the boy psychiatric help, he locks his son up in a cellar until his rages cool down. Like Brett Arbello, Nicholas’s actions—though well-intentioned—represent how conformity feels like violence to those marked as different.
Along with the investigation into the killer’s identity, the characters of Deadly Animals investigate how killers are made. Early debates within the book attempt to resolve eugenicist Francis Galton’s (1822-1911) outdated “nature versus nurture” dichotomy, as characters argue about whether violence arises from innate tendencies within the individual or from social and environmental factors. However, these discussions quickly transcend that framework to address a larger question: whether violence should be understood as a product of those natural and environmental factors, or as a conscious and deliberate choice on the part of the perpetrator. Along with this question comes the matter of whether killers like the Wolf can be held morally (as opposed to legally) responsible for their actions.
Delahaye and his investigative team quickly discover that both innate and environmental factors can influence criminal behavior. Delahaye’s conversation with Dr. William Tremblay helps him identify the variable reasons people may commit violent crimes. People can develop psychological trauma from emotional neglect and abuse in childhood, and this trauma can influence adult feelings of intense jealousy and anger toward those perceived to have better lives. Tremblay uses Bob Aster as an example, as he was sexually abused in his youth and later enacted that abuse on others. The detectives also discuss the case of Mary Bell, the 10-year-old killer who took her rage out on her victims because “the little boys were loved and she wasn’t” (59). In the case of Nathaniel, Delahaye suggests the boy’s traumatic upbringing at Banlock Farm is the key developmental period that turned the boy into a monster. Like his own childhood, Nathaniel puts his victims in restraints before killing them. However, Detective Lines points out that a difficult upbringing is not enough to explain why some people become murderers. Speaking of Mary Bell, he says, “Loads of us are raised in poverty and we don’t murder people” (59), implying that these perpetrators have more agency in their violent actions than they may admit.
Another environmental factor that Tremblay identifies as deeply influential on criminal behavior is sudden brain injuries that create long-term psychological damage. Severe head trauma can be a contributing factor in violence, as in the case of Bob Aster, who suffered a head injury in prison, which Delahaye suspects could account for the escalation in the crimes from sexual assault to murder. Brain trauma can also draw out latent psychological conditions that a person has previously repressed, like the clinical lycanthropy Delahaye and Ava believe the killer has. Nathaniel’s behavior following his accident supports this theory, as he successfully suppressed his learned dog-like behaviors until his accident seemingly drew them back out in an uncontrollable way. Nathaniel tries to hide the extent of his condition by skipping school when his animalistic rages and “transformation” occur, but by the end of the text, his condition is so extreme that Ava sees “all the good in Nathaniel was truly gone” (331).
Despite the immense impact these environmental and psychological factors can have on a criminal’s psyche, Ava comes to understand that violent offenders like Nathaniel also willingly choose to give in to violence. Nathaniel’s behavior during the murders is at once animalistic and deliberate. The gruesomeness of his crimes—biting his victims to death—suggests a wolf’s predatory instinct, but Ava points out that each attack comes as the result of careful planning. Nathaniel uses an elaborate ruse to lure his young victims away from safety and brings them to an underground lair where he kills them in secret. He waits until the boys are safely out of sight before he puts his wolf-suit on and kills them, which indicates a degree of control over his actions. Ava thinks Nathaniel relinquished himself to his violent urges because it was easier than pushing back against them, and after a life of repressing his animal instincts, Nathaniel chooses to live as he believes is his nature.
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